by new wave female auteur yim soon rye, a fictionalised account of the korean women s handball team. 2016 s the truth beneath, directed by lee kyoung mi, is a fast paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co written by park chan wook, and unlike his erotic thriller the handmaiden, also from 2016, didn t get invited to major festivals. it s really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women, and partly it is probably to do with the fact that she s not such a well known figure in the west, and so doesn t have the kind of fanbase that
there have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon rye, a fictionalised account of the korean women s handball team. 2016 s the truth beneath, directed by lee kyoung mi is a fast paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co written by park chan wook, and unlike his erotic thriller the handmaiden, also from 2016, didn t get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women and partly it is probably to do with the fact that she is not such a well known figure
there have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon rye, a fictionalised account of the korean women s handball team. 2016 s the truth beneath, directed by lee kyoung mi is a fast paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co written by park chan wook, and unlike his erotic thriller the handmaiden, also from 2016, didn t get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women
there have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon rye, a fictionalised account of the korean women s handball team. 2016 s the truth beneath, directed by lee kyoung mi is a fast paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co written by park chan wook, and unlike his erotic thriller the handmaiden, also from 2016, didn t get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women and partly it is probably to do
issue so i do not want to step on any toes or anything, ut there is definitely but there is definitely room for improvement. one of the things that comes to mind is the dearth of female character narratives in korean cinema today. i feel like there is definitely improvement that s necessary in that area but on the other hand because, as you know, there has been a lot of global recognition for korean cinema, it is also thriving. there have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon rye, a fictionalised account of the korean women s handball team. 2016 s the truth beneath, directed by lee kyoung mi is a fast paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co written by park chan wook,